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Magic in a midsummers night dream
Critical notes on a midsummer night's dream
A Midsummer Night's Dream and symbolism
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Shakespeare's Thieves and Faeries
Shakespeare's Puck, the mischievous household sprite Robin Goodfellow, resembles a more benign sketch of Sir John Falstaff and the other motley thieves in Henry IV, Part One.
Both Robin and the thieves tend to go by night, use disguises and magic, and act as jesters to their respective royalty. Falstaff declares, ". . . we that take purses go by the moon and the seven stars, and not by Phoebus. . ." [I.ii.13-15] and adds, "Let us be Diana's foresters, gentlemen of the shade, minions of the moon. . . under whose countenance we steal." [I.ii. 25-30] The action in A Midsummer Night's Dream takes place by moonlight as well; in fact, Robin worries aloud to Oberon that he may not be quick enough to undo the love-spell's damage by dawn, when his powers are presumably diminished. Robin often travels invisibly or in disguise, as when he imitates in turn the voices of Lysander and Demetrius, or eavesdrops on the rude mechanicals without being espied. Poins, for his part, produces vizards for all on the evening of the planned robbery. Gadshill says that he has "the receipt of fernseed, we walk invisible." [II.i.89] And just as Robin and Oberon put stars in the lover's eyes with an enchanted pansy, Falstaff declares that Poins must have given him "medicines to make [Falstaff] love him." [II.ii.18]
Falstaff clearly occupies a privileged position as a sort of court jester, his constant jabs at Hal and the crown itself accepted without punishment -- save Hal's verbal parries at Falstaff's slovenliness. Robin explains to a passing faerie that his purpose is to "jest ...
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...t things can be set right: "The man shall have his mare again, and all shall be well." [III.ii.463]
Even when they try to portray evil, Falstaff and Robin do such a lousy job of it that we are assured of their relative innocuousness. Puck brags, "I am fear'd in field and town," [III.ii.398] but given his previous recital of his pastimes [II.i.43-56] we can't possibly take this contention seriously. What have we to fear from one who merely makes an old woman spill her ale, or impersonates a three-legged stool? And who in his right mind would believe that the corpulent Falstaff battled an ever-increasing number of buckskinned warriors and later singlehandedly finished Harry Hotspur? Robin cannot be wicked and Falstaff cannot be cunning, and the really malevolent must exhibit both properties.
As soon as the king leaves, Falstaff immediately proclaims his unashamed cowardice, asking Hal to protect him in battle. The prince retorts with an insult to Falstaff’s enormous size, and abruptly bids him farewell. Gone are the jests that would accompany a conversation between these two at the beginning of the play, and Hal’s reactions to Falstaff now represent his moving away from the tavern world, and that he now belongs to the court world. Falstaff is extremely honest about his feelings towards the whole affair, bluntly stating that he wishes it all were over, exposing his strong reluctance to fight and interest in self-preservation. Again the prince offers only a rude retort before his ...
Even though there are differences the Armenian Genocide and the Holocaust are very similar in the ways people were convinced to follow the government. Both of these genocides started with a change in government. The “Young Turks” who wanted one religion and one language told people that the Armenians were a threat to their national security and called all of them spies (Beecroft). They started with the intellectuals and the leaders. Taking their possessions away and not allowing them certain rights (Beecroft). This is similar to how Hitler told the people of Germany that Jewish people were the reason the war was going bad and they were the reason Germany was in such a weak state. Just like the Turks the Nazis wanted everyone to be the same but in a little bit of a different way. In the Holocaust they started with the political opponents (“Holocaust”). The Nazis also took away the Jews jobs and possessions (Bard 13). The taking of possessions and killings relate to another similarity between the two genocides. The Armenian Genocide was during World War 1 and the Holocaust during World War 2 (“Armenian” History.com). The fact the Arme...
Hermia , Lysander , Helena and Demetrius represent young love in Shakespeare’s A Midsummer Night’s Dream . They are potrayed as foolish and fickle , acting like children and requiring a parental figure to guide them . The parental figures are Hermia’s father , Egeus , and figuratively Theseus , the mortal ruler , and Oberon , the mystical ruler.
Based on statistics and other aspects of the game these are a few of the top players of the Yankees, as one of the oldest teams in the game there was a lot of talent that went through. These men however were the ones who stood out the most for one reason or another, we honor them as the top ten Yankees due to the talent and effort they placed in a game that was so close to their hearts. Yes more players will come though the team and possibly break their records but these men will still remain some of the largest names in Yankee history.
Falstaff who seems to be Hal’s role model while in the Tavern, is putting forth a great deal of effort to have Hal conform into the lowlife that he himself has made himself out to be. Falstaff teaches Hal how to lie, cheat, and steal, but Hal seems to have a mind of his own. He tells his father that at any given moment he can change his character and be what his father wants him to be. Henry declines to believe these statements.
The speech itself highlights women's subordinate status in ancient Greek society, especially in the public eye." When Medea points out that women, especially "foreign" women, "require some knowledge of magic and other covert arts to exert influence over their husbands in the bedroom," she argues for a kind of alternative power that women can enjoy. A power that remains invisible to men and unknown by society, yet sways each with unquestionable force. Medea also supplies a method for interpreting her own character towards the end of her speech (lines 251-257): we should read her history of exile as a metaphoric exaggeration of all women's alienation; in fact, her whole predicament, past and yet to come, can be read as an allegory of women's suffering and the heights of tragedy it may unleash if left unattended. Under this model of interpretation, Medea portrays the rebellion of women against their "wretchedness." Such a transparent social allegory may seem forced or clichéd in our own contemporary setting, but in Euripides' time it would have been revolutionary, as tragedy generally spoke to the sufferings of a generic (perhaps idealized) individual, rather than a group. It would be a mistake, however, to claim that Medea's speech elaborates a clearly progressive political message, as her concluding remarks appeal to women's natural talent for devious manipulation (line 414). While Euripides' play manifests many revolutionary political sentiments, its social criticisms remain sporadic, forming just a part of some of the many trains of thought he follows.
Did you know that James Abram Garfield is the first ever left handed and ambidextrous President? Garfield was the last of only seven Presidents to be born in a log cabin! President Garfield was the second -following Abraham Lincoln- President of the United States to be assassinated.
...erything therefore she has no true confidants. She does not think she is pretty, but she is confident that her personality and other good traits make up for it. Through her writing, Anne comes across as playful and comical but with a serious side.
Medea is a tragedy written by acclaimed Greek playwright Euripides.fortunately, had the opportunity to view last night's performance. Euripides cleverly uncovers the reality of Ancient Greek society, shining a light on the treatment of women and the emotions and thoughts that provoked during their time in society. As they were voiceless, Euripides acted as a voice. The scene is set during a male- dominated society, Medea the protagonist challenges the views and chooses to ignore the normality of civilisation. Treated as an outsider her passion for revenge conquers the motherly instincts she possesses, provoking a deep hatred and sparking revenge towards her once loved family.
The consequences of the Hal and Hotspur's choice in father-figures are indeed what leads the play to its final outcome. Hal, who sides with his father and not Falstaff, becomes a noble prince and redeems himself in the eyes of his father. Hotspur, on the other hand, sides with Worcester, and their collective tempers lead them to make the rash decision to revolt. Their tempers are also responsible for other poor decisions that evade the chance of truce, resulting in the inevitable failure of the rebellion. Indeed, all could have been prevented if Hotspur sided with his father, rather than his uncle, and Hal would have become a desolate criminal had he followed Falstaff.
...wn in the succeeding works of his lifetime. It is thought that this aura of sorrow is capable of moving a person so much that a sadness like this is only found in Rembrandt's last portraits, and no other accomplished artists’. Titian’s work is significant for this effect of inspiring and stirring emotion in even the tamest heart. (“Encyclopedia of World Biography” 242-243)
Gifted with the darkest attributes intertwined in his imperfect characteristics, Shakespeare’s Richard III displays his anti-hero traits afflicted with thorns of villains: “Plots have I laid, inductions dangerous / By drunken prophecies, libels, and dreams” (I.i.32-33). Richard possesses the idealism and ambition of a heroic figure that is destined to great achievements and power; however, as one who believes that “the end justifies the means”, Richard rejects moral value and tradition as he is willing to do anything to accomplish his goal to the crown. The society, even his family and closest friends, repudiate him as a deformed outcast. Nevertheless, he cheers for himself as the champion and irredeemable villain by turning entirely to revenge of taking self-served power. By distinguishing virtue ethics to take revenge on the human society that alienates him and centering his life on self-advancement towards kingship, Richard is the literary archetype of an anti-hero.
...uller-Thompson et al., 2000). In general, it is assumed that people living in a well - developed environment are more likely in better health condition since they could be more active outside of their residence (Kuo et al., 1998); while poor housing condition could increase the risks of physical health problem (Dunn, 2000).
He is happy being a drunkard and someone who indulges what he wants. But he also realizes that it is not the type of life that a prince, or a king, should associate himself with, which leads him to his pleading—another reason the scene is prophetic. He pleads with Henry about his morality, much like he will do later in the play and in Henry IV: Part II. Though the play extempore is supposed to prepare Henry for his encounter with his father. Falstaff realizes it may be a good time to practice the inevitable encounter that he will have with Hal once he becomes king. This argument can be further developed when one realizes that it was Falstaff that called for the play extempore, not Hal. Falstaff knew he wanted a trial run before Hal’s kingship, so he gave himself one. However, Hal’s only reaction to Falstaff’s final speech is his line, “I do, I will” (2.4. 465). Some may take this as his answer to Falstaff that he will pardon him, and continue to be his friend. But the argument could be made that Hal is saying that line more to himself than to Falstaff. He is saying that he will do what’s necessary to be a good king. That he does have what it takes to leave a life he enjoys for a life of
The Role Of Puck in A Midsummer Night's Dream & nbsp; The role and character of Puck, or Robin Goodfellow, in A Midsummer Night's Dream, is not only entertaining, but quite useful. & nbsp; William Shakespeare seems to have created the character of Puck from his own childhood. In Shakespeare's time it was believed that fairies and little people did exist. Whenever something went wrong around the farmyard or house or village, incidents such as buckets of milk ‘accidentally' spilling over, or tools suddenly disappearing, or doors opening for no reason, it was blamed on ‘ those damn little people are amazing! i.e. a sym & nbsp; The idea of Puck's character is a lovely one. One can't help but be attracted to him and his innocent, little pranks. He is also known by the name Robin Goodfellow. The audience can only see this ‘Robin Goodfellow' side of. Puck when he is trying to fix something he disrupted, hence the name Goodfellow. & nbsp; When compared to Oberon, King of the Fairies and Titania, Queen of the Fairies and the remaining fairies of the play, Puck does not seem to fit in as well. well. While Oberon and Titania belong to the forest and the world of dainty fairies, a small village setting seems more appropriate for Puck. He is the type of fairy that likes to be around mortals and cause them trouble, as opposed to the snare. to other fairies. This is why Puck's little job with a love potion and a young couple is perfect for him and perfect for the job. & nbsp; Puck is a likable character who tends to create mischief around himself.